The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
After the rebels have been brutally overpowered by the Empire on their newly established base, Luke Skywalker takes advanced Jedi training with Master Yoda, while his friends are pursued by Darth Vader as part of his plan to capture Luke.
A veteran samurai, who has fallen on hard times, answers a village's request for protection from bandits. He gathers 6 other samurai to help him, and they teach the townspeople how to defend themselves, and they supply the samurai with three small meals a day. The film culminates in a giant battle when 40 bandits attack the village. Written by
Colin Tinto <firstname.lastname@example.org>
First use of a scene which is now commonplace in cinema: The approaching horde coming into view as they crest a hilltop, specifically when Kikuchiyo sees the mounted bandits approaching. See more »
Shichiroji throws a spear out the door of Rikichi's hut in anger, it lands obviously in parallel with the door. Later, after Kikuchiyo's outburst he runs outside and picks the spear up, however it's now laying sideways compared to the door. See more »
I discovered 16 of Kurosawa's best known films before returning to the one which is commonly thought of as his masterpiece. Seven Samurai is unlike any other grand classic ever produced. It's basic plot can be summed up in a single easy sentence, yet its refinement and execution rival any movie you've ever seen.
The premise: in chaotic 16th century Japan, as marauders threaten raid villages, one village hires samurai to defend it from a group of bandits. Yet Kurosawa (also co-writer) developed these characters in a way unheard of for what might pass as an epic action film. To its astonishing credit, through all of its 207 minutes running time, Seven Samurai never falters or bores. And if the script is a marvel in itself, the acting and production design than derive from it are nothing short of superlative. It is said that Kurosawa forced the villagers (from supporting role to mere extra) to live together as a community during production and be their characters, each and every one of which he had drawn out specifically. This unusual technique gave Seven Samurai a feel of authenticity unparalleled in film history.
The samurai themselves are so richly given life to in the screenplay that little more would have been needed to make them memorable characters, yet the main cast pay off at every turn, and though every one of the seven main actors give in perfect performances (never as I had feared before watching it do you confuse them, even in the chaotic battle scenes), two immortal roles have a particularly resounding effect: Takashi Shimura (Kambei Shimada), who plays the leader of the ragged band of samurai, gives his sage and venerable warrior a god-like intensity that makes the magnetic charisma of his character unquestionable. One of the easiest leaders to root for in all the history of film-making. Stealing the show however, albeit by a very thin margin, is longtime Kurosawa favorite coworker Toshiro Mifune (Kikuchiyo) as the rogue seventh, the black sheep of the herd, giving the bravura ultimate performance of a lifetime paved throughout with great roles.
The story follows them and the villagers, equally nuanced and developed, through their encounter, training, eventual bonding and the big inevitable fight for survival. Unlike subsequent very successful remakes (i.e. Magnificent Seven), seven Samurai transcended excellency by having many layers (nothing or no one is white or black: everything exists in shades of gray) and thus being very real and human. Even without the menace, its interpersonal dynamics would have made it perfect human drama, subtle, balancing comedy, intensity, realism, drama and a deep philosophy with astonishing ease, yet the menace does materialize and thus Seven Samurai unleashes its violence in a series of action scenes crafted with such vision and ingenuity as has ever reached an action film (the frenetic battle scenes at the end rather evoke Saving Private Ryan in their relentlessness).
In the end, what made this into solid gold was, at the core, Akira Kurosawa, who would, despite directing many further masterpieces (Throne of Blood, Yojimbo, Red Beard, Dersu Uzala, Kagemusha, Ran), would never top this one. Throughout his life, Kurosawa kept confirming his status as perhaps the greatest director ever. If so, Seven Samurai is the ultimate proof of that truth. One of the very best films ever made and personal all-time favorite.
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